“…releasing “old stuff” makes SoSaLa feel like living through these songs.’
memories again, revisiting, re-gaining messages that still ring true, and
collecting what was forgotten. It still gives him what it did back then, maybe
more now.” – Mark C (LIVE SKULL)
“1994 – Live at CBGB”
A Resurrected Masterpiece of Japanese No Wave in NYC
Artist: SoSaLa
Title: 1994 – Live at CBGB
Formats: CD (autographed limited edition of 100 and high-end 24-bit product) and digital album
Cat. #: DBDCD004
Label: DooBeeDoo Rec
UPC Code: 198595498392
CD Release: December 16, 2024
Digital and International Releases: January 3, 2025
Distributed Worldwide by CD Baby
Stream and buy here:
© Sohrab Saadat Ladjevardi ℗ DooBeeDoo Worldwide Music / BMI Produced and photos by Sohrab Saadat Ladjevardi
Live recording by legendary producer and sound recording engineer Martin Bisi at CBGB (New York), January 8, 1994
11/19/24—SoSaLa (whose Japanese artist name was Sadato at the time this album was recorded) has released his next retrospective recording. This album follows up on the previous one, 1993. This time, he looks back to 1994, a significant year in SoSaLa’s music career.
The music was performed live at New York’s legendary Punk venue, CBGB, with SoSaLa’s favorite Tokyo quartet, SADATO (1993 -1994). Sadato played soprano and tenor saxes and vocals, Toshimaru Nakamura played guitar, Masaki Shimizu played fretless bass, and Ryo Kato played drums.
CBGB’s manager, Louise Parnassa Staley, to whom this concert was dedicated, loved their music so much she invited them to perform twice in the same week. All shows were recorded live by legendary recording engineer and producer Martin Bisi. This album is the recording of the first show on January 8, 1994.
SADATO was a notorious Japanese indie rock band representing and advocating the DIY spirit on and off stage. Because of this, “35 Cent Puppy Sandwich” was dedicated to the DC hardcore band FUGAZI and their DIY attitude. Angry, but with much love and compassion, they became the only social-political performing band in the Japanese indie music scene. No Japanese band sounded or performed like them. Sadato had the vision – and balls – to introduce NO WAVE into the Japanese independent rock music scene and make it work. It is clear evidence of the skills, talent, and charisma of Sadato, Shimizu, Kato, and Nakamura that they made this music accepted in a foreign environment.
Stylistically, the music on this album is related to bands such as DNA, the Lounge Lizards, James Chance and the Contortions, and Pere Ubu. NO WAVE, harmolodic jazz, indie-progressive rock, nu-blues, oriental modal jazz, the Downtown Music scenes in New York, and dadaism meet in the vitality and celebration of a live music event. Listening to this album, one relives the days of an earlier age when musicians fearlessly experimented with forms and concepts. It emphasized artistic expression and pushing boundaries but with love and compassion. Where old rules were broken, and new ones were being written – and broken.
All tracks composed by Sohrab Saadat Ladjevardi except track #1 Yurei (Sohrab Saadat Ladjevardi/Toshimaru Nakamura/Masaki Shimizu).
This retrospective album is another must-have for fans interested in SoSaLa’s unique and accomplished music career.
About the Tracks
- Yurei (Ghost) 2:25 (English lyrics)
Yūrei are mythological creatures in Japanese folklore analogous to Western ghosts. Sadato used this to express how it feels to be a foreigner and an outsider in Tokyo. The Japanese tend to treat foreigners like ghosts. After Sadato dedicated the performance to Louise Parnassa Staley, Shimizu’s wobbly ostinato, Kato’s relentless drums, and Nakamura’s jagged feedback provide a backdrop for Sadato’s howl of frustration from his saxophone.
- Death 6:16 (English and one word of Farsi and Japanese lyrics)
The existential dread of inevitable Death is exorcised and brought to a place of acceptance. Kato’s kick drum pulse and Shimizu’s bass support Sadato’s lyrics. Nakamura’s jagged guitar cuts in and around the sounds. As the band drives the piece forward, Sadato implores, “There’s no reason to fear Death! Die like a gentleman!”
- WER WIE WO WAS WARUM (WHO HOW WHERE WHAT WHY) 3:26 (German lyrics)
In this heavily punk-influenced song, Sadato expresses his disillusionment with his existence. He gives up trying to understand the meaning of life and how to live it. Nakamura’s guitar and Sadato’s saxophone Nakamura articulate the sense of dread and hopelessness.
- Life Drunk 4:12 (English lyrics)
The song is dedicated to the UK band Gallon Drunk. Shimizu’s blues shuffle bass line and Sadato’s uncharacteristically optimistic saxophone improvisation set the stage for his exultations about feeling good about his dramatic life.
- POSTIV JA (Positive Yes) 3:10 (German, English, Farsi, French, and Japanese lyrics)
This song presents Sadato lashing out against people who endlessly complain about everything. He counters their gloominess with “Positivity. Yes, yes, always yes!” This is done in a punk/blues / psychedelic rock song form.
- Tavalod (Birthday) 4:26 (Farsi lyrics)
Kato and Shimizu lay down a groove for Sadato, a framework for his Iranian-influenced soprano saxophone improvisation, and a chant of “Happy Birthday” in Farsi. The idea here is that every day is your birthday—every day, you’re born again.
- 35 Cents Puppy Sandwich 2:45 (English lyrics) – Dedicated to FUGAZI
American post-hardcore band Fugazi was known for its style-transcending music, DIY ethics, manner of business practice, and contempt for the music industry. Sadato uses this song to express his solidarity with Fugazi’s DIY spirit.
- Kurushi Shiawase (Painful Happiness) 3:34 (Japanese lyrics)
In this song, Sadato reflects on the euphoria after intense experiences, such as a painful martial arts fight, a recording session, or what he describes as “Happiness guilt.” As Kato and Shimizu drive a heavy groove, Sadato’s saxophone and Nakmura’s guitar weave fascinating melodies against each other.
- 65 3:44 (English, German, Japanese, and Farsi lyrics)
This is a tribute (almost a love song) to Sadato’s favorite guitar amp, the Fender 65 Deluxe Reverb Amplifier. Sadato’s saxophone part explores some ornamental trills until settling into a counterpoint part for the rhythm section. Nakamura’s guitar answers with the same melody before drifting into dissonant feedback. Shimizu shines on this one. He starts with a dissonant, liquid bass line and ends the song with a brief but awe-inspiring bass solo.
QUOTES
“I have known Sohrab Saadat Ladjevardi aka SoSaLa since 1985. Our vectors first intersected in Japan, and Japanese culture is an important factor in appreciating Sohrab’s musical aesthetic. His art came into focus during that exciting time in the 1980s when the genre classifications of marketing had not overtaken the music world. Sohrab’s music draws equally from the languages and cultures of free jazz, punk, and funk to form a potent mix outside of any simple branding. He carries that powerful tradition to this day in both his music and organizing work.” – Elliot Sharp, New York, 11/3/2024
“Yeah, Fela would have liked it!” – Rikki Stein (Fela Kuti’s manager and friend), London, 8/29/2024
“Man, you’re a real rocker! :-)” – Marc Ribot, New York, July 27, 2024)
“I can feel the power and passion in your music!” – Morgan Fisher (Mott the Hoople), Tokyo, July 7, 2024